resumoEste artigo analisa ideais de prática religiosa, perfis humanos e vivências que emergem de escritos versando sobre vida monástica feminina do ramo clariano em Portugal, nos séculos XVII e XVIII. O quadro de comportamentos tidos como exemplares pelas religiosas, nas crônicas conventuais e nos textos de aconselhamento, é aqui comparado com as prescrições constantes nos regulamentos, concebidos sob o controle da instituição eclesiástica. Considera-se que as diferenças entre os modelos criados pelas monjas e o mais institucional da Igreja expressam as formas particulares de apropriação, por estas, das regras a que estavam submetidas. palavras-chavesModelos de vida religiosa • experiência conventual feminina • Portugal nos séculos XVII e XVIII. abstractThis article is concerned with models of religious practice, human profiles and experience that emerge from writings on Franciscan women's monastic life in seventeenth and eighteenth-century Portugal. The behaviour regarded as exemplary by the cloistered women, in chronicles of monasteries and in counselling texts addressed to the sisters, is compared with prescriptions from the rules conceived under Church control. We consider that the differences between the models created by the nuns and the more institutional paradigm that is found in Church regulations express the particular forms of interpretation, by the sisters, of the rules to which they were submitted. KeywordsModels of religious life • women's experience in convents • Seventeenth and eighteenth-century Portugal.1 O presente artigo foi escrito com base em investigação que recebeu apoio financeiro do CNPq, com bolsa de produtividade em pesquisa.
O artigo aborda formatos e usos da escrita em mosteiros femininos e masculinos, no Portugal dos séculos XVII e XVIII, buscando explorar significados particulares do domínio de técnicas escriturais. Neste sentido, procura adaptar, à especificidade do contexto analisado, sugestões metodológicas dos estudos sobre as implicações do letramento e seus vínculos com a esfera da oralidade, noutros universos histórico-sociais.
Many artists have used the symbol of salt in both religious and profane works, yet very few studies have explored the symbolism of salt as used in works of art. In this study, Panofsky’s method has been adopted to evaluate works of art through an organic process articulated into three stages: (1) pre-iconographic, (2) iconographic and (3) iconological. The method was used for (a) religious paintings of the Old and New Testaments and (b) mythological and profane themes. Various salt-cellars were also studied. In particular, the paper examines the following themes: Isaac blessing Jacob, the return of Esau, Samuel consecrating David, the Last Supper, the suppers at Emmaus and at the house of Simon, the birth of St. John the Baptist, the Baptism of Constantine, the prodigal son, Bacchus-Apollo, the nuptial banquet of Love and Psyche, the death of the Cavalier of Celano, the king drinks, the landlord’s visit, ‘Phitopolis faisant servir des mets en or au roi Pithès’, certain still life paintings and various salt-cellars including those of Cellini and Giulio Romano. The paper discusses the works of many artists including Raphael, Leonardo and his school (Boltraffio, Giampietrino, d’Oggiono, Solario), Hendricksz, Corenzio, Jean-Baptiste and Philippe de Champaigne, Damaskinos, Tintoretto, Titian, Romanino, Rubens, Bellini, Bloemaert, Veronese, Sustris, Just of Ghent, Jan Van Hemessen, Poussin, Loir, Giotto, Jordaens, Brueghel and Mimmo Paladino with his enchanted mountain. From the data examined it emerged that salt is a primary iconological presence in various works of art.
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